Many plays have a familiar source of drama and intrigue: Get a family to reunite for whatever the reason and all of the passion and suppression will find its way out there. But Donald Margulies's The Country House takes this format to new heights. And director Daniel Sullivan knows exactly how to squeeze out every last bit of tension and relief.
Curiously, one of the reasons the play falls short of Pulitzer Prize-winning Margulies's usual vaunted mark is that he's chosen, as many playwrights before him have, to make The Country House an homage to Chekhov. To be more specific, he's saluting--if you want to call it that--The Seagull and Uncle Vanya, and he goes seriously awry doing so, falling far short of Chekhov's dramaturgically and emotionally involving level